Lateral Thinking
I’ve been asked this question many times; what’s the best album ever made? This is a pointless question because time is still moving forward. However, I don’t like getting into philosophical arguments so I tell them; ‘Lateralus’ from the American band Tool. As we draw closer to the tenth anniversary it’s still playing on my computer, that’s high praise considering I have 10,000 other songs to choose from in my library. As a listener, how do we analyze such an elaborate, intricate piece of work? There are only four men on this planet who can fully complete that task; Maynard James Keenan, Adam Jones, Danny Carey and Justin Chancellor. That’s right, the artists who created an aural orgasm for the rest of us to enjoy.
The aim of this review is to make an attempt at breaking down Lateralus, not as thirteen songs on a disc, but as an entire package. To begin with, you need to look at the sleeve notes inside the case. You’ll realize that they don’t exist. The inner sleeve consists of artwork from long time collaborator Alex Grey. Each time you turn the page you take away a layer flesh and muscle from the mysterious figure. Keep looking and you’ll reach the final layer, noting but bone and brain with the word ‘God’ etched into this person’s mind. Even before we play the disc, it becomes obvious that something special is about to unfold.
The disc doesn’t contain any words or information, it is simply coloured black. The edge of the disc is designed with a continuous white pattern of the ‘flaming eye’, an image which occurs throughout Tool’s imagery as a symbol of energy (something which this album contains plenty of). I’m going to listen to the album as I write/type, and review it not as thirteen individual songs but as seventy-eight minutes and fifty-eight seconds of music. My favourite albums take me on a journey, preferably an outer-body experience and this is no different. If music doesn’t create the sense of breaking free from daily society, then what’s the point? I want something to make me forget about my problems in my life, even if that feeling lasts little over an hour.
Lateralus is filling my ears. The start of our journey begins with a gradual build to a song that eventually shows off the vocal qualities of Maynard. He is an incredibly diverse artist who can easily switch from beautiful harmony into fierce anger. Anger is an important word when we review Tool’s music. The people of this world, who fall into the conservative category, will label this type of voice as hateful. This is an inaccurate statement which Maynard is quick to clarify, stating that anger is a far more constructive emotion than hate. The beginning of the journey is still continuing with the word ‘Grudge’ becoming a constant word used (and thankfully it’s not related to the terrible film of the same name).
We’re almost twenty-five minutes into the album and in between each soaring and beautifully loud verse, the album soothes into sixty seconds of ambience. Swiftly this changes, and we’re brought to our feet with more pulsating riffs from Adam Jones’ guitar. He is an important figure who (without undermining his peers) is probably the most artistic of the four members. Jones works alongside Alex Grey to create the accompanying artwork and videos (often using stop-motion animation techniques). Most critics praise the unusual time signatures that Jones is well noted for, and most of these critics are correct. The guitar work here is undoubtedly unique. If one were to see the music written on paper it would be shunned aside because it shouldn’t work, but for some reason it does. It becomes a key part of the four elements (drum, bass, vocals and guitar) and it’s clear that Tool simply wouldn’t be the same without his presence. Even more importantly, Lateralus would not exist if one of these elements were to leave.
The music continues to feed my ear drums and I continue to write, now approaching the forty-five minute mark. This is arguably the most important stage of the journey, when we reach what is labeled as the album titled song. This is where the elements complement each other with great precision and technique. Danny’s snare and Justin’s often criticized use of a pick while playing bass, play equal roles alongside Maynard’s voice and Adam’s Gibson. The reason I love this band and this album in particular, is because it continues to make me look further into what’s actually happening with the sounds. In this section for instance, the vocal syllables match the sequential numbers of Fibonacci (a mathematical system which dates back well before we were born). If that wasn’t enough proof to show a deeper meaning; the vocals begin ninety-seven seconds (roughly 1.618 of a minute) after the opening tone. The ratio is in accordance with the ‘Golden Ratio’ which is directly related to the Fibonacci mathematical sequence and theory. I was never good at mathematics during my school years; I always found subtraction particularly difficult. So what exactly does this sequence mean and how is it relevant? That’s where personal opinion comes into play, that’s where you’re given the opportunity to relate the music to your own situation in life. There’s no perfect answer to describing the meaning of this song as each individual’s interpretation is different, and I’d have it no other way.
The remainder of the music brings us on a trip back home to our everyday lives. For the finale, we fade out with ambient sounds only to wake up and get ready for work again. Once more I’ve experienced some of the most unique, the most aggressive and the most beautiful music recorded to date. It would be unfair to label Lateralus with a simple number, or an overall score. A score would undermine the outstanding work and dedication that Tool have been so committed to throughout the years. If you have any interest in music and the magic contained within it, then listening to Lateralus is something that must be experienced. You haven’t got any excuses, so turn out the lights, stare into space and prepare for something special.
